Um Fim de Semana em Paris

A couple goes to Paris in an attempt to save their marriage. One thing that makes this film stand out is the combination of oddball personas that form the main characters. There is a quiet madness in them that is somehow transcendent and so from an initial sense that their aim is utterly hopeless, hope only arises when they somehow give in to the inner madness that in this case could as well act as an intuition.

After 30 years of marriage why are two people still together? Is it love or habit that keeps them together? To help answer this what a better place than Paris to explore one's sentimental existentialism.

Good dialogue, filled with acidity and irony as these two lovely cranks try to figure it out. Life perhaps did not work out but let's make a point of not giving a toss for a change and how wrong can it get?

To rekindle the spark in their marriage, an older man takes his wife to the most romantic city in the world for a whirlwind weekend of food and courtship. It seems the perfect premise for a charming if slightly quaint romantic comedy, focused on people who seldom get to take centre stage in Hollywood. Certainly, its marketing campaign has focused on the film's sharp, giddy bursts of joy and emotion, suggesting that love later in life is possible and even glorious. But, make no mistake about it, Le Week-End is far from a sweet and simple exercise in wish-fulfilment. In fact, this is a prickly, frequently painful look at a relationship that works as much as it doesn't: a bond forged through time, heartache and anger that could as easily be mistaken for love as for hate.

Nick (Jim Broadbent) and Meg (Lindsay Duncan) - a couple who have been married for decades - return to Paris, where they had their honeymoon. It soon becomes clear that Nick is desperately keen to make his marriage work again, even as his wife tries - sometimes with great determination, sometimes half-heartedly - to suggest that they go their separate ways. Their son is grown, you see, and there's nothing except years of knowing and being with each other to hold them together.

The film is at its finest when Nick and Meg walk the streets of Paris, their bickering and banter hinting at the rot that has set into their marriage. There is love between them, but not the kind that swells the heart with dreams of romance and magic. It's worn, and tattered, and quite possibly fading. They argue over their good-for-nothing son - Nick wants to take care of him, Meg thinks he should be independent - and Meg finds out that Nick is close to losing his job. They say hurtful things because, after long years of marriage, they know just what to say to really twist the knife. Le Week-End, at least in the beginning, is refreshingly free of sentiment, instead taking a long, hard look at the quiet, seemingly inconsequential tragedies that can eat away at a long relationship.

The character work is also quite wonderful. Neither Nick nor Meg is easily categorised or stuffed into a stereotype. When Nick meets his old college friend Morgan (Jeff Goldblum) in the streets, he's forced to confront the tiny disappointments that have made up his life. It adds depth to this portrait of a man whose eagerness to please is rooted in his abject terror of being alone. On her part, Meg can come across as almost brutally distant, someone who's withdrawn into herself to shake the feeling that something went quite badly wrong in the life she's leading.

Credit is due especially to Broadbent and Duncan, who fearlessly create characters and forge an intriguing chemistry that carry the film through its weaker moments. Broadbent is the tremulous heart of the film, and Duncan its gritty spirit. Together, they make the push and pull between Nick and Meg rich and sad at the same time: these are clearly people who could be better apart, but might not survive the separation.

Where Le Week-End falters is in its good but troubled script by Hanif Kureishi. His characters speak in dialogue that's razor-sharp, reeling off lines that are beautifully crafted but - because they occur with such regularity - can sometimes come off as fake or pretentious. It's jarring in a film that's otherwise so determined to be clear-eyed about romance and love in the real world. The film wraps up awkwardly as well, as if it's not quite sure where to leave this couple: to suggest a happy ending would be to undo its entire narrative trajectory, and yet there can be nothing simple about a pair of lives so tangled and complex.

Anyone hankering after a sweet, gentle romantic comedy set in the cobblestoned streets of Paris should look elsewhere - Le Week-End is dark and sometimes heartbreaking, suffused as it is with a love that's been broken down by loss, sacrifice and disappointment. It's funny, but often in a bittersweet way, and the relationship at its heart sometimes feels as if it might be beyond salvation. Perversely, that's what makes the film work - but it most certainly won't be to everyone's tastes.

The trailer hinted at a charming romp around Paris; reviews suggested something darker. In reality it proved to be a very honest, challenging film, which refused to pop love-in-marriage into a convenient genre-box.

I can understand completely that it wasn't many people's cup of tea. Certainly not a cosy feel-good movie for the growing sixtysomething demographic that presumably ensured finance for the movie to be made. But it your relationship is resilient – or you are single – there is pleasure to be had in this grown-up story.

Yes, it was painful to watch at times, but delightful at others – a bit like life. Yes you wanted to smack them both for being so... annoying. No, you probably wouldn't invite them round to dinner without a certain amount of sighing. But I defy you to work out, before the end, whether they themselves would work out before the end. And I trust it will make a star, at last, of the luminous Lindsey Duncan.

Le Week-End (2013) is an English film directed by Roger Michell. Lindsay Duncan plays Meg, married to Nick (Jim Broadbent). They've been married for quite a while--probably 35 years or so. They aren't a happy couple, and they decide to return to Paris for a weekend to try to relive a time when they were happy.

The problem is that they don't like the hotel they can afford, and they can't afford the hotel they like. They don't like the restaurants they can afford, and they can't afford the restaurants they like. And . . . they don't appear to like each other very much either.

Nick was apparently very successful in college and graduate school. However, he has never fulfilled his early academic promise. At one point Meg tells someone, "I'm a teacher," but it wasn't clear to me what she taught, and at what level she taught it. And, more important, it wasn't clear that she derived any satisfaction from her work.

By coincidence, they meet Morgan (Jeff Goldblum), who lives in Paris. Morgan and Nick had been friends in graduate school. In fact, Morgan says that he considered Nick his mentor. However, unlike Nick, Morgan has had a fabulously successful academic career. He now has abundant funds, a new bestseller, and a young second wife who adores him. The contrast between Nick's life and Morgan's life is so obvious that it brings about revelations from Nick that are painful to hear.

I was prepared to enjoy this movie, but, ultimately, it didn't work for me. Jim Broadbent is a fine actor, as is Lindsay Duncan. But neither of them gave me much reason to care about them--as individuals, or as a couple. Having a meal in an expensive restaurant, and then sneaking out through the kitchen is supposed to be a charming exploit. I don't find it to be charming at all. In fact, I didn't find much that was charming about either of them. (Yes--Lindsay Duncan is very beautiful, and looks much younger than her actual age of 63. But that doesn't make her character charming.)

I kept waiting for the characters in the movie to come to some sort of resolution. However, that didn't happen. The film just dwindled away and then it ended. "Loved the concept," but the movie never delivered on what it promised. Too bad.

Oh Paris, je t'aime!

What do you get when you mix the influence of French new wave director Jean-Luc Godard, the acting talents of Jim Broadbent and Lindsay Duncan, the sturdy direction of Roger Michell and poised writing of Hanif Kureishi? What feels like the unofficial fourth entry to the Before Sunrise independent film trilogy, Le Week-End is a film that could easily be mistaken as the extended look at the lives of Jesse and Celine, years after their fateful meeting in Vienna.

There is something exquisite and magical with films set in Paris, a city that is most commonly known as the 'city of love'. And although Meg (Lindsay Duncan) and Nick Burroughs (Jim Broadbent) choose to revisit Paris after thirty years of marriage and re-live their honeymoon after a long and challenging life together, things don't exactly go how each of them planned. Instead, what surfaces is a film budding with sophistication, film history, and bittersweet revelations that showcase a world of fading lovers and seasoned couples.

Le Week-End is a film set in the fine wine capital of the world. Surrounded by couples holding hands, sharing moments of pure love and wonder, Meg and Nick have some serious marital issues to face, but instead decide to lather over them with the spectacular sights and sounds of the Eiffel Tower, the River Seine and upper-class dining and accommodations. Both highly irritated with each other's approach to life, their children and their relationship as a whole, Meg and Nick use the vacation as a means to reconnect. However, the couple unexpectedly run-into one of Nick's former student's and now renown author Morgan (Jeff Goldblum). Morgan invites Meg and Nick to a dinner party to celebrate the release of Morgan's latest literary achievement. However, Meg and Nick get a lot more than just dinner among friends, and instead their evening turns into a plethora of ultimatums and heartfelt realities.

The grand beauty of Le Week-End lies in the chemistry between Broadbent and Duncan. As two educators in their own sense, Nick a university professor and Meg a teacher, the two honeymooners surely belong to a class of people who are in constant pursuit of life experiences. Sadly, the couple, who have lived their lives catering to the needs of others, can't seem to get rid of their overly mature son, who has found his way back to basement of their home. Torn between what is right and what is necessary, Nick and Meg's parental approach is clearly outlined in the short snippets of calls Nick receives from their son. Thankfully, the heart of Le Week-End is easily found, not in the commentary of parenting, but in the depth of fleeting love, and Duncan and Broadbent share a hate to love for one another that could only be seen in some of the misunderstood, post modern works of European artists almost sixty years prior.

Meg and Nick use their thirty year wedding anniversary as a muse towards re-connecting. Meg, seeing the vacation as a 'last chance at love' for her and her husband, adopts a very go with the flow, careless attitude towards their spending and experiences in the Parisian city. Early on, it is clear that Nick is the money saver and principle earner in the relationship. While Nick sees Paris as an escape from their mundane lives in Birmingham, he also sees it as an opportunity to indulge in a weekend filled with romance and wild, kinky sex with his gorgeous wife–whom he still very much loves and longs for. Meg on the other hand is mostly repulsed with her husband, describing him as "making her blood boil like no body else'. Where Nick replies that that indeed is "the sign of a deep connection". Essentially, life happens. For every good, there is a bad, for every high, there is a low. Le Week-End showcases these highs and lows, few and far between.

While the couple travels together, they are mostly a duo of outsiders with one another. From the moment we meet the rambunctious Meg and patient Nick, we experience a dialogue between two people who are lost in translation, although, some how, both individuals find themselves speaking the same language. The witty screenplay by Kureishi (an author whose novel The Buddha of Suburbia was a novel I read in University) allows the internal thoughts of the characters to be read easily by the viewers and allow the actions of our characters to speak volumes. A city roaming with mimes, colourful characters and whacky personas, Meg and Nick find themselves lusting for the city of Paris to revive their emotions and expectations of one another.

It may not seem it, but aside from the fury and disagreements that Meg and Nick deal with, Le Week-End reminds viewers that "love is the only interesting thing" left in life, especially when you reach the age of our cinematic specimens. The answer may be love, but the factors determining this answer are the tools for the equation. Luckily for Michell, his lead couple is a pair of talented actors who devour their characters, expelling a familiarity of relationship woes between long-term couples and deteriorating lovers. Broadbent offers a special variation of the typical, artistic, working class Englishman. Full of well-upholstered manners, true English nuances and faint hints of British humour, he uses all of these subtle character traits to bring to life the habitual sexual urges of a man who has waited long enough to touch his naturally ageing, beautiful wife.

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